Ahead of NEM Dubrovnik (9-12 June 2025), Broadband TV News spoke with Sanja Božić-Ljubičić, CEO, Pickbox, Mediatranslations, Mediavision, NEM and Ivan Ljubičić, Managing Director, Mediavision and NEM.
Broadband TV News: How are the ‘with ads’ offers impacting the local market?
Ivan Ljubičić: The CEE market is unique, particularly due to its strong price sensitivity and the fact that, in many countries across the region, ad-supported streaming options are still largely unavailable. For streamers, I believe “with ads” are complicated for those small territories with a lot of languages. For advertisers, it opens fresh opportunities, but they need to wait a little bit more. This is something we’ll also tap into at this year’s NEM.
One of the main value propositions for streamers was the ad-free experience. So, the reintroduction of advertising – even in a limited or premium context – challenges that narrative. There’s a risk that users might perceive it as a step backward, especially if the ad experience isn’t localised, relevant, or well-balanced.
BTN: Do the international streaming services carry any locally originated content? Do they actually feel local?
Sanja Ljubičić: Streaming platforms have made progress in including local content in their catalogues, but the extent to which it truly feels local varies by market. In many countries, we’re starting to see more original productions that are commissioned specifically for local audiences, and that’s a positive step. However, while these efforts are growing, the volume and visibility of local originals are still relatively small compared to the overwhelming dominance of global titles. Too often, local content is added as a complement to the main international offering, rather than being promoted as a cornerstone of the platform’s identity in that market.
More importantly, for local audiences, “feeling local” goes far beyond dubbing or subtitles. It’s about the tone of the storytelling, the themes it explores, and whether it authentically reflects the region’s culture, history, and current social realities. Some platforms are beginning to understand that, but there’s still a long way to go. Ultimately, streamers who want to build lasting relevance on the local level will need to embrace local co-productions, partnerships with regional creators, and different marketing strategies. That’s when content will truly feel local.
The streamers are also changing the formats of drama… shorter runs (or ‘limited series’) and more one-offs rather than continuing series. Is this impacting other broadcasters? What other changes do you see?
Ivan: Yes, this shift is influencing both audience expectations and the strategies of broadcasters in our region. The growing popularity of limited series and shorter-format storytelling – largely driven by streaming platforms – is changing how viewers engage with content. Audiences today often prefer tight, high-impact narratives over long, multi-season arcs. Attention spans are shorter, competition is fierce, and content needs to deliver quickly. That’s raising the bar not only for streamers but also for traditional broadcasters, who now need to rethink the formats they invest in.
We’re seeing local broadcasters start to adapt, experimenting with shorter formats, event series, and even hybrid models that blend linear and digital-first strategies. A recent example of this was the series Sram, brought by Croatian national television – a compact, thematically focused series that leaned into a more modern structure. It shows a willingness to adapt and take creative risks, which is encouraging. As for other changes, audiences are evolving rapidly, which means a show can’t succeed without proper marketing.
There’s also constant pressure around windowing and exclusivity deals – something we’ll be discussing further at NEM. And as we touched on earlier, advertising systems are undergoing significant shifts, which will ultimately change how audiences consume content. It’s not just about monetization anymore; it’s about experience.
How is this being reflected at NEM?
Sanja: This shift is very much reflected in our agenda. What sets NEM apart is that we don’t just comment on and explore current trends – we actively use them as a lens to forecast where the industry is heading. Our goal is to give participants not only insight but also a strategic edge and to help them stay one step ahead of the curve.
Importantly, NEM provides a space where regional voices – creators, executives, and policymakers – can talk openly about how these global shifts are playing out locally and what unique opportunities or challenges they bring. Whether it’s about co-production models, hybrid advertising strategies, or innovative release formats, these conversations are designed to be practical and forward-thinking.
What has been the most important development locally since NEM 2024?
Ivan: Linear television continues to hold a strong position across the CEE region, particularly in countries where it remains the dominant viewing platform. At the same time, both global and local streamers are gaining momentum, reflecting shifting consumer behaviours and growing demand for on-demand content. We’re also seeing a noticeable rise in strategic partnerships between streamers and telecom operators, aimed at boosting content reach and bundling services more effectively. However, the most significant development in the past year has been the wave of mergers and acquisitions among major operators across Southeast Europe.
NEM Dubrovnik is annually held in Dubrovnik, Croatia, and is addressed to FTAs, pay-TV channels, cable and satellite operators, streamers, IPTV, production, distribution, and technology companies, media and marketing agencies, and other specialists connected with the TV industry. NEM Dubrovnik is focused on the CEE region, but the event’s attendees come from all over the world.
